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Friday, October 12, 2012

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CinemaDNG Technology Center | Adobe
From Todd Kopriva at Adobe: "The CinemaDNG Technology Center page has been updated with the CinemaDNG specification, example files, and other materials for those interested in working with this format.

More than a decade ago, photography experienced a technological shift with the proliferation of digital cameras. As photographers embraced digital cameras, their desire to access low-level image data increased, resulting in the increase of RAW file formats and workflows. Unfortunately, the digital still image raw workflow brought with it a slew of file formats (over 200 for still cameras!) that are proprietary, closed, and sometimes even encrypted.

The Documentary Summit is a two day professional filmmaker conference. With seminars from expert speakers and structured networking, it offers a unique opportunity to connect, share, learn and collaborate. Join the movement now.

The book is intended for intermediate to advanced level recording engineers, studio owners and audiophiles. It is by no means an “Audio for dummies” type of book, though the explanations in each chapter are incredibly straight forward and the feeling is that Winer is not trying to prove his knowledge by making things complicated like many other authors unfortunately do.

One of my personal pet peeves is seeing a nicely composed image, but completely blown out highlights in the background. Up until now the only option under $10,000 was to heavily underexpose (which can lead to ugly skin tones). Now we’ve got a camera that is capable of retaining detail in both the extreme highlights and extreme shadows, and for less money than any of the competitors.

These lights are ideal for documentarians looking for nice interview lighting on the fly or for DPs who need to add some kick and accent light. They also provide a great solution for shooting indoors and for those of us who need to fly with our lighting kits. For one, there is no concern with blowing fuses or destroying power outlets when shooting in an apartment, home, or business that was not designed to power high-wattage lighting, and second these lights are very light relative to many other systems out there.

The instrument is aesthetically designed and rugged enough to withstand the modest abuse associated with professional use. It’s also well-suited to meet the challenge involved in making the best use of existing lighting conditions and it allows the shooter to achieve the desired “look” in a media landscape where this is important.

Almost no material gets submitted in Hollywood without coverage and that coverage is written by a script reader who is paid — or sometimes not — to read your script. What they say about your script, indeed how they distill in their coverage the key narrative elements of your story can have an enormous influence on how the material is perceived by people further up the food chain.

I used the Sony FS100 (using the Sony 50mm e-mount lens in S&Q mode, set to1fps, with a shutter speed of 1 second) and the FS700 capturing the other shots, using the Sony FS700 Kit Lens.This is just one of those fun moments of shooting and having a good time and enjoying amazing food.